by: Deborah Beech
Posted on 05.07.10 in All Horror Films > Werewolf
Release Date: 2006

Unquestionably the most exhilarating element of any werewolf film is the transformation into the wolf. The human body as host for the untamed monster that rips its way out of human flesh, developing into a bloodthirsty animal intent on destruction is incredibly terrifying and exhilarating. Unfortunately, this film was billed as a werewolf movie, but with a 12A certificate Blood and Chocolate (Katja von Garnier UK, Germany, Romania 2007) is anything but horror driven. Consequently, what this film suffers from, and what the werewolves seem to strive for is identity. There seems to be confusion as to what genre of film this is, possibly due to the fact that this is based on the book of the same name, written by Annette Curtis Klause with a core audience of young adults and teenagers. Adapted as a screenplay by Ehren Kruger, who also wrote the screenplay for The Ring (USA 2002; Gore Verbinski); it appears to have lost its focus. Is it a teen angst story set against a gothic backdrop or a re-imagined take on Little Red Riding Hood? Either way the focus is on an adolescent female, fighting hormones and her ‘family’.

The film begins with fairytale imagery, reminiscent of Pan’s Labyrinth (Guillermo Del Toro Spain 2006). The cinematography and colour exploration in the beginning scenes through the woods describe the ‘other worldliness’ that envelopes a young girl lost in an enchanted snowy place. Alas, the child is wrenched from her idyll as she and the rest of her family are attacked by an angry mob intent on killing them. Their wooden lodge is set ablaze and the little girl is the only survivor. As she runs through the forest her eyes change and this is the first indicator that she is different.

These opening scenes are visually beautiful and reveal what the rest of this film is really about: great art direction and fantastically ambient locations which emboss a story that asks questions about alienation, secret societies, forbidden love and guilt (albeit in a slightly stilted manner). What this film is not is a horror werewolf picture. Once that is acknowledged and the expectation for full on monster mayhem is quashed, this film actually has moments of tension and anticipation, which move the story at an adequate pace.

When the action is transferred to the present, the backdrop of Bucharest suggests a time and place that is steeped in the unconventional. The leading lady, Vivian is the little girl all grown up, nineteen to be precise and she is still running. She lives in a secret world that embraces the mysterious periphery of a city at night. The underground club she effortlessly enters, whilst ‘others’ struggle, is frequented by young adults that appear reckless and uninhibited, which is a sharp contrast to the morose yet smart loner. This is also where we are introduced to her cousin Rafe, a cocky, aggressive, self-confessed romantic. Vivian keeps him and his ‘pack’ in line, but she seeks solace in an abandoned church when her privacy is invaded too many times. Also inside the church, sketching, she meets a graphic novelist called Aiden who is researching the Loup-Garoux (human to wolf shape shifters). Unbeknown to him this is exactly what Vivian and her family are. Desperate to meet her again, he pursues her through the back alleys of Bucharest. She has amazing climbing and running skills so he quickly loses her. However, upon discovering that she works in a chocolate shop, he pursues her. As the title suggests, the contrast of two opposing food sources is a beautiful metaphor for Vivian’s duel personality: blood-her ancestry and her identity, chocolate-comfort, a desire/need. This also helps to describe the contrast of the two men that want her.

Every seven years the leader of the pack, Gabriel takes a new wife, and this year it is Vivian’s turn. Astrid, Vivian’s aunt, was once Gabriel’s wife, and father to Rafe. This causes conflict between her family and within herself. Vivian’s nature means she is continually fighting against who she is and all that it entails, and once Aiden stirs her more human feelings she becomes withdrawn and confused. Because of Aiden’s impact on Vivian, the rest of the pack has to asses how this situation will ultimately affect the lineage of the Loup-Garoux. She is almost repelled by an absinthe swigging Gabriel (Oliver Martinez) who represents all that she despises in her ancestry, so she begins to fight against the traditions which have always prevailed.

At first it appears that the werewolves pose no real threat to humans as their exposure would almost threaten to exterminate their existence. However in one scene a known drug dealer is used as prey for the Loup Garoux as they chase him to his death through the forest. This chase is where for the first time we get to see the transformation. They leap into the air (in slow motion) and with minimum special effects a bright, mystical golden glow poetically transmutes the human into an actual wolf. This hybrid was certainly a surprise as there was tension and a big build up to what exactly Vivian was suppressing.

Although initially a little disappointed when revealed, this has to do with the psyche of what a werewolf looks like; it actually starts to clarify the reasoning behind the behavior of some of the characters as well as questioning how they can control who they kill as wolves. There are big differences to other representations of werewolves, which includes their lack of transformation when there is a full moon and their bite is not infectious (they are however still at risk from silver). Vivian’s growing attraction for Aiden inflames a spiteful and jealous suspicion in Rafe; spying on the couple, Rafe’s pack sneak around and prowl, regarding humans as ‘meat’ and nothing more. Rafe tells Gabriel what Vivian is up to and is told to drive Aiden out of town. I really liked the idea of the Loup Garoux’s view of humans; they are merely play things and a good meal and I would have liked to have seen more development of the cat and mouse chase, it would have provided more of an insight into what kind of lives they lead, as well as contributed to suspenseful and tension filled scenes.

There really is only one significant stalker scene and it revolves around a woman in a red dress (again playing on the Little Red Riding Hood tale), who rejects the supremely confident Rafe. Rejection and jealousy induces the destructive side of him, which sees him intent on destroying Vivian’s relationship in frustrated retaliation. Essentially this is the catalyst which enables Vivian to confront her lineage, which ultimately cements her future.

Lack of identity is this film’s biggest obstacle when trying to connect with the main characters and their circumstances. Vivian is the heroine of the piece, as she is the one who ultimately changes the history of the Loup Garoux- given this, perhaps Vivian should have a persona that radiates this strength and determination. Sadly, Katja Von Garnier neglects Vivian’s stance as the character that holds the power, even though every scene that Vivian appears in she is responsible for the cause and effects of many of the male characters.

Unfortunately, Agnes Bruckner (The Woods-Lucky McKee; 2006) who plays the permanently nonplussed lead looks so despondent and indifferent throughout that she is very difficult to care about, which is a problem as the film revolves around this character. Aiden played by Hugh Dancy (Shooting Dogs-Michael Caton-Jones; 2006) does however possess a charm that is easily translatable and believable. His charm works well against Bryan Dick’s annoyingly self important Rafe, who seems to really enjoy his dual personality and pushes others around him to their limits. Oliver Martinez (Unfaithful-Paul Martel; 2002) as Gabriel, is simply not strong enough. As the pack leader he seems to suffer from the same disease as Vivian- he is completely uninspiring.

Overall the film contains questions and dilemmas which are very interesting but never really addressed; it is easy to see how this may have alienated many of the young fans of the book who perhaps engaged with the turmoil of self identification. The whole look and feel of the film is well shot and realised, but regrettably the lack of horror leaves the film confused as to what it wants to be. It does give the impression that it has dark qualities, yet, like most aspects of this film it is never really explored in detail. The direction is sensitive to its atmosphere and the visual depiction of a crumbling society is beautifully translated. It is worth watching for its imagery, and at 98 minutes running time it is reasonable to suggest that if disappointed by lack of horror content, its fragmented gothic inspired milieu provides an alternative to current hormone driven teen horror/angst pictures.

• ★★★★★

  Acting:

• ★★★★★

  Blood:

• ★★★★★

  Violence:

• ★★★★★

  Partying:

• ★★★★★

  Language:

• ★★★★★

  Humor:

• ★★★★★

  Predictable:

• ★★★★★

  Girls:

• ★★★★★

  Gore:

• ★★★★★

  Sexuality:

• ★★★★★

  Torture:

• ★★★★★

  Overall: